Cartography and Art by William Cartwright, Georg Gartner, Antje Lehn (auth.)

By William Cartwright, Georg Gartner, Antje Lehn (auth.)

This ebook is the fruition of labor from members to the artwork and Cartography: Cartography and artwork symposium held in Vienna in February 2008. This assembly introduced jointly cartographers who have been attracted to the layout and aesthetics components of cartography and artists who use maps because the foundation for his or her artwork or who include position and house of their expressions. the end result of bringing jointly those like minds culminated in an excellent occasion, spanning 3 evenings and days within the Austrian capital. Papers, exhi- tions and installations supplied a discussion board for appreciating the endeavors of artists and cartographers and their representations of geography. in addition to indulging in an expansive and expressive get together attendees have been in a position to re? ect on their lonesome paintings and talk about comparable parts in each one other’s paintings. It additionally allowed cartographers and artists to debate the opportunity of collaboration in destiny learn and improvement. To know the signi? cance of this occasion, paper authors have been invited to additional boost their paintings and give a contribution chapters to this e-book. We think that this ebook marks either a signi? cant get together in Vienna and a place to begin for destiny collabo- tive efforts among artists and cartographers. The editors want to recognize the paintings of Manuela Schmidt and Felix Ortag, who undertook the duty of the layout and structure of the chapters.

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3). Fig. 1. Richard Long, Wind Stones, 1985 Fig. 2. Richard Long, Dartmoor Walks, 1972 32 David Fairbairn Fig. 3. Layla Curtis, NewcastleGateshead, 2005 Although created using cartographic representations, such artefacts are ‘not really cartographic’ – they are not using cartographic transformations. Similarly we can look at examples of paintings which are ‘not really art’. It has already been suggested that the type of painting exemplified by vedute falls into this category. Such representations employ transformations which are almost cartographic, and because of the precision of their geometric fidelity, they could assist in the same way as photography, in creating maps.

E. smiths or toolmakers. Their TOOLS, however, are no longer pencils or drawings, paintbrushes or paintings, chisels or sculptures, because the priority has shifted toward a desire for holism as described in Peter Sloterdijk’s vision of “spheres” (Sphären), “bubbles” (Blasen) and “foam” (Schäumen), in which he opens up ways for developing different, less static and more performative tools. But what are these tools? What do they look like? Expanding the horizon of art history, Buci-Glucksmann’s cartography provides an alternative to the “artisan” conception of art as a tool.

Rejecting Illusionism: Transforming Space into Maps and into Art 33 Fig. 4. Bernardo Bellotto, The Hofkirche in Dresden with the Augustian palace and bridge, 1748; Matthaus Seutter, Stadtplan von Dresden, 1755 Fig. 5. 8 Conclusions Just as the geometrically rigorous vedute and the architectural pictures mentioned earlier in this chapter can (along with art works such as botanical drawings) exhibit considerable beauty, so maps can be designed to reflect the data which they portray using a transformation which is beautiful.

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